Finding Caspicara

Not only is Caspicara one of the most important names in the history of colonial art from the Andes, it is a key entry point for a discussion about the complex organization of artisanal workshops in colonial Quito; the materials and manufacturing techniques employed in the making of polychromed sculpture; the relationship between patrons and artists; the production of artworks for far-flung markets; and the exchange networks and circuits that assured their circulation. Susan Webster’s dedicated archival research corrects and updates the art historical record, questioning myths that have filtered our understanding of artistic practice in colonial Latin America. The new and rich historical and firsthand information contained in this volume makes it an important source for future studies in many disciplines. ~Carmen Fernández-Salvador, Universidad San Francisco de Quito, author of Encuentros y desencuentros con la frontera imperial: La iglesia de la Compañía de Jesús de Quito y la Amazonas (siglo XVII)

What is in a name of an artist? What is the art behind the name? These are the questions that compose Finding Caspicara. Susan Webster’s work, however, is more than defining the question of whether Caspicara is a specific person. Rather it engages a larger set of problems that are often swept under the rug, either by saying most colonial Latin American artists are anonymous, or that the names of artists are often accepted without a critical biography. Webster unravels the mystery of who Ecuador’s national cultural hero was, what some of his works were, and why we all require such studies to understand why we need to question received knowledge. ~Thomas B.F. Cummins, Harvard University, director of Dumbarton Oaks, coeditor of Sacred Matter: Animacy and Authority in the Americas